Vytautas Bacevicius (1905-70) is nowadays regarded as one of Lithuania's finest composers, though he was unacknowledged as such in his lifetime. His reasonably successful European career was cut short when he emigrated to New York at the start of the second world war. US orchestras weren't interested in his music, however, and he spent the rest of his life in abject poverty: most of his later works were written with no thought of performance. His belief that music should be "cosmic" invites comparisons with Scriabin, though his convulsive, "machine age" style also betrays the influence of Honegger and Prokofiev, above all in the whirring Poème Electrique (1932) and the First Piano Concerto (1929). The Second Symphony (1940), inveighing against the Nazi occupation of Poland (where Bacevicius was actually born), is probably his masterpiece. The Sixth (1960) and Graphique (1964) are mystic, introverted scores, startling in their austerity. The performances, with the conducting honours shared between Vytautas Lukocius and Martynas Staskus, are first rate. Aidas Puodziukas is the hard-hitting soloist in the Concerto.